I had to visit Athens, to discover a great director, at the level of Brook, Grotowski, Suzuki, Wilson level. Although I don’t speak Greek, Terzopoulos’ theatrical “language” is absolutely familiar and comprehensive to me. The power of his performance lies at the visual, acoustic and verbal symbolism of the obsessive nature of two powerful women: Queen Elisabeth A’ and Maria Stewart. Queen Elisabeth, interpreted by Sophia Hill- she was for me the second revolution of that night- stands as the symbol of Great Britain, of imperialism, aggressiveness and dominance, from 16th century until the Iraqi war and the omnipotence of BBC. Terzopoulos compacts within 60 minutes his political and poetic message. I wish to see him soon in England too. 

Michael Billington, Guardian (republication: Kathimerini. January 16th, 2011)

Only last year did I discover the geniuses of Terzopoulos as a theatre director. I made a quick visit to Athens to watch some performances. I was told that the performance Alarme, directed by Theodoros Terzopoulos in Attis Theatre was based on the correspondence between Queen Elizabeth A’ and Maria Stewart. But I was not prepared for what was to follow: an excellent physical, witty, erotic study on the symbiotic relationship between two queens that were never met in real life. The two actresses were bending and pressing their stomachs, reminding a couple of gilded snakes, which know that their fates are inevitably connected. Instantly I recognized that I was watching the work of a theatre genius. I could see that Terzopoulos was connected to directors like Jerzy Grotowski, Heiner Müller and Tadashi Suzuki. However, Alarme clearly was the work of a sui generis genius, of someone who could create an indelible theatre picture invoking all available vocal and physical expressive means.
Being straight, I found the performance incredibly sexy. My first impression on Terzopoulos was fully confirmed, when he presented the performance Il Deserto in London, in St. Pancras’ Crypt. We sat in the twilight and we witnessed the brilliant Paolo Musio interpreting a man buried in the desert. While his words were spilled out, I remembered one of Becket’s heroes, who invokes language to repel death. The image of a man suspended in the void reminded me of Dante’s Inferno. What I have gathered was that Terzopoulos, internationally known for directing ancient greek tragedies, is one of the best living directors, especially when it comes to the interpretation of the despair of a squashed human animal.

Michael Billington, The Influentials 2011: Theodoros Terzopoulos, The eternal sunshine of the genius theatre mind, LIFO, December 21st, 2011
Read the article as it was originally written, at the following link:

And my belief that experiment can be combined with perfectly calibrated art was confirmed by an amazing Greek director, Theodoros Terzopoulos, whose work I first saw in Athens a year ago but who remains mysteriously unknown in Britain. In terms of formal experiment, I've seen little to match his production, Alarme, in which the symbiotic relationship between Elizabeth I and Mary, Queen of Scots is represented by two female actors who glide and undulate along a tilted platform like hissing serpents.

Michael Billington, E is for Experimental, Guardian, January 10th, 2012
Read the article, as it was originally written, at the following link: